Seen for the first time in this comprehensive exhibition, the group of pictures was assembled in honor of legendary curator and publisher Michael E. Hoffman (1942-2001) with donations from artists with whom he worked during his active career.

This exhibition traces the development of Lipchitz’s art as represented in the Museum’s holdings and selected objects from local area private collections, as well as some related works by other artists.

The Whitebook collection contains works painted on ivory, parchment, porcelain and copper that span more than four centuries and includes important miniatures by Robert Field, Jean Baptiste Isabey, Edward Greene Malbone, James Peale, and Christian Friedrich Zincke.

The Philadelphia Museum of Art is proud to present two recently acquired masterpieces of printmaking by Rembrandt van Rijn, Christ Preaching and Christ Crucified between Two Thieves, more popularly known as The Three Crosses.

In this exhibition of more than fifty photographs from the Museum's collection, artists purposely defy our expectations and the conventions of portraiture by taking pictures of people whose faces we can’t see.

On view in the Dorrance corridor and American galleries are ship portraits, naval battle scenes, whaling pictures, and seascapes by a wide range of American artists, including Thomas Birch, Edward Moran, William Trost Richards, Winslow Homer, and Childe Hassam.

Fashion in the 1950s and early 1960s reflected this resurgence of idealized femininity. In an era of American history that has often been called conformist, the taste of the time extolled circumspect feminine behavior and a ladylike appearance.

This exhibiton illustrates the international artistic movements that inspired the designs of Rookwood artists—such as Art Nouveau, Art Moderne, and Art Deco—and includes splendid examples that reflect an interest in Persia, Japan, and American Indians.

Learned Lamas: The Teacher in Tibetan Art brings together a selection of expressive and powerful works to explore this unique portrait tradition, one that reveals the interplay between the flaws of being human and the vision of the ideal.

This exhibition surveys the development of the screenprint from its popular commercial origins, through its depression-era struggle for artistic legitimacy, to the peak of production in the Pop Art era and absorption into the multi-media orientation of printmaking today.

Study of the painting has revealed, among other things, how the artist took the common triptych form (a central painting flanked by paintings on two shutters that close over it) and by dispensing with the frames that typically surrounded the shutters, achieved incomparable qualities of illusion.